Federico Fellini's Rome

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Recommended: A curious dream

“Maybe then reality is something we hate so much that we try to change it with every possibile excuse? Reality? There are only images of it, after all. Man probably uses images in order to fix reality in an acceptable shape, to make it less dangerous and more familiar. It’s a psychic process against which we can do nothing. […]We are enclosed, shuttered within this mystery, which we call the psyche, beyond which we are not permitted to make any suppositions, any affirmations about our existence. Everything is what we call psyche, beyond which we are not permitted to make any suppositions, any affirmations about our existence.” This is what Fellini answered about dreams to Gideon Bachmann during an interview. And it is the dream-like idea of Fellini’s cinema in Roma as well. To enjoy Roma we need to be subjected to the city in its brief moments and not try to rationalize, it would be useless. A film, Fellini's Roma (1972), which improves over time and visions, in which you are unable to grasp the greatness without noticing that you are watching not one story but millions, trillions of sketchy stories to provide a unified and compact framework, a work that seems to be always on the move. Fellini's Rome is portrayed in many different ways through his movies. You could almost accuse him of contradicting in the various visions he gave of his adopted city: Rome of the poor and disillusioned whores, represented by Cabiria who experiences many situations but who resists and smiles to life; Rome of the paparazzi and La Dolce Vita, with Anita Ekberg trying with Marcello to join her in the Trevi Fountain, with Christ on a helicopter flight over the city, and finally Rome, in its entirety. In almost all the posters of Fellini’s movies st... ... middle of paper ... ...th tables of barbarians. A city represented by the she-wolf and vestal , aristocratic and dark, Anna Magnani who has no problem teasing you and reject you amiably, by closing the door in Fellini’s face because she is conscious of her disease and this will be her last film appearance. Finally, Rome is a beautiful mess, the painting of a cinematic genius who does not pose barriers to what is and how to represent it. Although this has been considered by some for a certain period such as a secondary movie by Fellini, made just two years before his fourth Academy Award for Best Film not American, with "Amarcord ", in comparison to some of his other previous films, " Rome" is instead one of his masterpieces. In the end, "Roma" looks like a beautiful love letter to the city of Rome by one of the greatest directors ever, which has known how to celebrate it like no other.

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